Concerts Reviews
LIVE REVIEW – Lauren Spencer Smith Delivers an Emotional Night in Vancouver on ‘Art of Being A Mess’ Tour
At Vancouver’s Orpheum Theatre on March 22, Lauren Spencer Smith returned to something close to home. The Port Alberni native was greeted like one of the city’s own, and the energy in the room made that clear long before she stepped on stage. Groups of friends, families, and plenty of young fans filled the theatre early, already singing along to the preshow playlist as if the concert had started without her.
Opening the night, Maisy Kay brought a theatrical, almost fairytale-like presence. Dressed in a flowing outfit with butterfly details (down to her water bottle), she moved across the stage with ease, turning a solo set into something that felt full and lively. Tracks like “Technicolor Honeymoon” and “Almost Touch Me” leaned into glossy pop, while her take on Adele’s “Rolling in the Deep” added a playful twist, complete with impressive vocal runs. Kay’s charm came through in the quieter moments too, especially when she paused to speak directly to the crowd, sharing about connection and heartbreak.
Next up, Sofia Camara shifted the mood into something more intimate. Her set leaned heavily on storytelling, with each song introduced like a chapter pulled from her own life. When she asked the crowd to stand up and light up the room for “Starlight,” the Orpheum transformed into a sea of phone lights, soft and glowing. That calm didn’t last long once she launched into “Parking Lot,” which had the audience singing back every word. By the end of her set, she had clearly won over a room that arrived early and ready to listen.
By the time Spencer Smith appeared, the anticipation had been building for hours. Her stage design leaned into the theme of The Art of Being A Mess, built around a stylized bus stop complete with a bench and a ringing payphone. It gave the show a sense of movement, like each song marked a different emotional stop along the way. When the lights dropped and the phone rang, the crowd screams, and she walked out to open with “IF KARMA DOESN’T GET YOU,” quickly followed by “Lighting the Flame” and “28.” For “Bigger Person,” the fans had prepared a special project and had distributed little pieces of paper ahead of the show asking the crowd to turn on their phone lights. It was one of the most beautiful, still moments of the night.
Indeed, from the start, her connection with the audience felt personal. She didn’t treat the room like a blur of faces, and she made eye contact, reacted to signs, and took time between songs to talk. That balance of control and openness carried the night. Vocally, she was sharp and consistent, moving from restrained verses to full, belted choruses.
The setlist pulled heavily from her latest album, The Art of Being a Mess, alongside fan favourites like “That Part,” “Pray,” and “Flowers.” The loudest moments came when the crowd took over entirely, turning songs like “Fingers Crossed” into full-on singalongs.
Interactive moments helped shape the pacing. The “Tell Me A Secret” segment brought a mix of humour and vulnerability as anonymous confessions were read aloud, while the “Wheel of Feels” added an unpredictable edge.
What stood out most was how comfortable Spencer Smith looked in this setting. There’s been steady growth in her stage presence over the past few years, and it shows. She knows when to step back and let the crowd carry a moment, and when to lean in and push her voice to the front. The energy in the room never let up.
For a hometown-adjacent crowd, this tour stop was a reminder of how far she’s come, and how strongly her music continues to land with the people who found her early.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
LAUREN SPENCER SMITH
SOFIA CAMARA
MAISY KAY
All Photo Credit: Caroline Charruyer
Concerts Reviews
LIVE REVIEW: Jackson Wang Brings MAGICMAN II’s Theatrical Spectacle to Vancouver
If you didn’t know Jackson Wang before Sunday night, you definitely left the Doug Mitchell Thunderbird Sports Centre knowing exactly who he is.
Jackson Wang is a Hong Kong-born artist who first gained international recognition as a member of K-pop group GOT7 before launching his solo career in 2017. Since then, he’s built a reputation that extends far beyond music, headlining global tours, performing at Coachella, and founding his own fashion label, Team Wang. He’s also been unusually candid about the pressures of the entertainment industry, and his 2025 album MAGICMAN 2 marked a return after a year-long hiatus, offering a more introspective and emotionally raw body of work than its predecessor.
I’ll admit I wasn’t deeply familiar with Jackson Wang‘s discography going into this show. But I’d heard the hype that his concerts were more theatrical productions than standard arena performances, and I was curious to see what all the fuss was about.
Walking into the venue last night, you could feel the energy form the fans. This was a sold-out crowd, and the devotion of Wang‘s fanbase was evident before the lights even dimmed. No opener meant all eyes were fixed on that stage from the moment doors opened. Though lightsticks weren’t permitted, fans improvised with small finger lights, creating that signature sea of glowing lights you’d expect at a K-pop show.
When the venue went dark, the screams were immediate ; the fans behind me already losing their voices. A cinematic intro played across the massive screens. The MAGICMAN II tour is structured almost like a film, divided into narrative arcs with video interludes bridging each section. Then Wang appeared, suspended mid-air on wires, a single spotlight cutting through the darkness. “High Alone” kicked off the night with him literally running in place above his dancers before descending to join them.
From there, the production only intensified. “Access” brought flames shooting from the stage, deep red lighting washing over the arena, and dancers in black with matching dark eye makeup mirroring Wang‘s MAGICMAN alter ego. The choreography was sharp, the atmosphere thick with smoke and lasers. It looked like a visual album brought to life in front of us.
The emotional turns came quickly. “Hate to Love” slowed things down as fog rolled across the stage, and by the end of the song, dancers were physically restraining Wang, pulling at his clothing until he reemerged in a mesh tank top under red light. I lived the drama of it all as Wang leaned into the theatricality of vulnerability here.
Then came the fan service. Wang invited audience members onstage (first one, then a group of four) seating them at centre stage while he and his dancers performed around them. The choreography was sensual, almost Magic Mike-esque, complete with body rolls and hip thrusts. The participants looked both shocked and thrilled, and the crowd absolutely lost it. A girl behind told her friends “I would do anything to be on that stage with him.”
Another video interlude shifted the mood again. Onscreen, Wang appeared in crisis, drinking heavily, breaking down emotionally, his dark alter ego looming. When he returned to the stage in a loose, straitjacket-inspired white outfit, it was clear we’d entered the most introspective portion of the night. “Blue” and “Everything” hit hard, with dancers floating around him in slow, fluid movements. For “Dopamine,” he asked the audience to raise their phone (and finger) flashlights. It was genuinely beautiful.
The hip-hop segment that followed brought the high energy back up. Wang and his dancers returned in baggy sweats and baseball caps, launching into “BUCK,” “Let Loose,” “TITANIC,” and “GBAD.” “Get your fucking ass up, Vancouver. You guys worked hard, you deserve to fucking have fun!” he told us before the bass dropped. The crowd obliged right away.
A nearly ten-minute video monologue preceded the final act, featuring behind-the-scenes footage and Wang reflecting on his year away from music, reconnecting with himself, with his parents, with what actually matters. When he returned to perform “Sophie Ricky,” a ballad dedicated to his parents, childhood photos flickered across the screens in a tender and earnest moment.
The encore was less a traditional finale than a full-blown afterparty. Green lasers flooded the venue, and Wang, living up to his party man reputation, went down in the pit and pulled fans onstage. For nearly thirty minutes, the arena became a dance floor. His parting message was simple: be yourself, and cherish the people around you.
Walking out into the night, I understood the devotion. Jackson Wang shared a raw version of himself with us during this show. And that kind of honesty, wrapped in this much spectacle, is rare.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming MAGICMAN II tour dates:
04/08 Rosemont, IL – Allstate Arena
04/10 Brooklyn, NY – Barclays Center
04/12 Toronto, ON – Coca-Cola Coliseum
More information via Ticketmaster.
JACKSON WANG IN VANCOUVER
All Photo Credit: Caroline Charruyer
Concerts Reviews
LIVE REVIEW: A Sold-Out Night for Sticky Fingers in Vancouver
Sticky Fingers made their long awaited return to Vancouver this past Saturday, April 3rd at the PNE Forum.
For those unfamiliar, Sticky Fingers can best be described as the gateway drug into the world of Australian Indie/Psych Rock. When I first heard of the band in 2016, I was working at a ski resort surrounded by Australians and it only felt right that 10 years later seeing them live, I’d be once again in the company of a sold out crowd, full of Aussies.
The opening act was none other than Ruby Waters. The Juno Award Nominee, Ontario-grown and current Whistler local, has been making waves for some time now. She previously opened up for bands like City & Color and Ocean Alley and has been selling out her own tours across Canada, US, UK and Europe.
Ruby has this raw, emotional, soulful tone that has been compared to the likes of Amy Winehouse, and I totally see why. She performed crowd favourites like Wet T-Shirt and Sweet Sublime, and even performed a new unreleased record.
Sticky Fingers came out and kicked off their set with Land of Pleasure and just kept performing hit after hit. Outcast At Last, Cool & Calm, These Girls (which apparently hasn’t been on their setlist in over a decade), Gold Snafu and even the much loved acoustic set of Cyclone.
Stepping in for lead vocals on this tour is Claude Bailey. Lead vocalist and rhythm guitarist for Camino Gold. I can’t imagine stepping into this role comes without its pressures, but Claude absolutely crushed it. He was able to perfectly capture the Sticky Fingers sound that everybody fell in love with and deliver an incredible performance. The OG members include – Paddy Cornwall (bass/vocals), Seamus Coyle (lead guitar), Beaker Best (drums/percussion), and Freddy Crabs (keys/synth).
This concert was much anticipated and it exceeded all expectations. Everyone go listen to Ruby Waters, Sticky Fingers, and Camino Gold!
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming Tour Dates:
Mon Apr 06 | San Francisco, CA | The Masonic
Wed Apr 08 | Anaheim, CA | House of Blues
Thu Apr 09 | Los Angeles, CA | Hollywood Palladium
More information here.
STICKY FINGERS
RUBY WATERS
All Photo Credit: Claudia Whittaker